From Popeye to Tintin. US copyright expired in hundreds of works that made history in the 20th century. From from January 1, 2025In fact, the 1929 creations can be freely copied, modified and used by anyone in the United States. This is the case of Popeye and Tintin. Their first versions will become public domain, allowing artists and publishers to publish new comics with these characters or make films and shows. without having to ask permission or pay royalties.
And not just comics: 2025 also marks the market launch of literary works such as farewell to armsby Ernest Hemingway, and The scream and the furyby William Faulknerwhich may be republished by any publisher or adapted for the theater or the big screen. In the world of cinemathe thriller Blackmailby Alfred Hitchcock, will be able to be projected freely, while twelve Disney short filmsamong them The Karnival Kid (the first in which he speaks Mickey Mouse)they can be reused for new animations. He musical panorama It will also witness the liberalization of some of the most famous and significant works. In fact, it will be possible to reproduce the original compositions of emblematic themes as Singin’ in the rain and Ain’t misbehavin’iconic song of the American Jazz Age composed for the Broadway musical Hot Chocolates. And some of the most famous crazy songs by Cole Porter and George Gershwin.
Two continents, two visions of copyright
And in Europe? Things are different there. Indeed, in the Old Continent copyright They are not calculated from the date of publication of the work, as is the case in the United States, but from the moment of the death of its author. A choice that radically modifies the deadlines and modalities of use of the works.
The American system sets a precise period from the first publication: 96 years, at the end of which the work automatically becomes usable by anyone. However, it must be said that this duration has not always been so long: the Copyright Term Extension Act of 1998 extended it for 20 years, after strong pressure from disneyto the point that the media baptized her as the “Mickey Mouse protection law“. The objective was clear: protect characters of commercial value for as long as possible. from the historic animation studio. Before this law, in fact, works would have entered the public domain 75 years after their publication.
In Europe a different principle appliesbased on the personal link between the author and his creation. The European directive on car rightsprotects the works during 70 years after the death of its creator. This system creates much longer paths for some works: Tintin, for example, will not enter the public domain until 2053, since its creator, Hergé, died in 1983. However, in 2025 authors will enter the public domain in Europe. as colettethe French writer famous for her novel Gigi; Henri Matisseone of the greatest painters and sculptors of the 20th century, and Alan Turingthe British mathematician who laid the foundations of the theory of computing. AND Frida Kahlothe famous Mexican painter known for her intense and symbolic paintings, and Robert Capathe legendary Hungarian photographer who immortalized some of the most devastating conflicts of the 20th century.
The Complications of Copyright
Going into the public domain does not mean total freedom of use. For each work from 1929 there are precise limits that must be respected. The most obvious case is that of Popeye: only the original version of the sailor can be used. spinach that makes him super strong, introduced by Segar in later strips, is still protected by copyrightjust like his trademark 1933 cartoon voice. The issue is even more delicate in the case of Disney characters: Only cartoons released before 1929 may be freely used. Disney retains copyright about all subsequent character developments, from design to characteristic features.
Even in the case of literary works, the limits are clear. “farewell to arms“Hemingway” and “The sound and the fury” by Faulkner may be reprinted, adapted or edited, but only in their original 1929 versions. Subsequent translations remain protectedas well as the theatrical and film versions already made. Future adaptations will be possible, but must be based exclusively on the original text. In the field of music, the situation is even more complicated. The original composition of “Singin’ in the Rain” becomes public domain, allowing for new arrangements and interpretations. But the famous 1952 film version with Gene Kelly remains protected. The same goes for ‘Ain’t Misbehavin”: the score is free, but the historical recordings of the time retain separate protection.
Article originally published in WIRED Italy. Adapted by Mauricio Serfatty Godoy.
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